I predominantly use acrylic paint, favoring Windsor & Newton by Derivan and Golden Artist Colours, particularly the Golden Fluid options. My toolkit includes a range of brushes, from cheap hardware store finds to top-of-the-range Da Vinci brushes, as well as large freestyle paddle brushes by Liquitex. I paint on both stretched canvas and plywood, currently enjoying creating multi-panel configurations using modular shaped ply segments. So, you’ll be seeing more diptych, triptych, and other multi-panel options.

My preference is for larger canvas sizes as they suit my style of gestural, free-flowing brushstrokes. To go extra big, I paint across multiple substrates, creating diptychs, triptychs, and even hexaptychs (six panels), as there is a limit to how big an artwork I can fit into the back of my car.

My creative process is influenced by various factors: the tools I use, my mood, color choices, mediums, and even the size of the canvas.
Each of these elements shapes the direction of the conversation my art initiates—whether it's short and sweet, angry, loud, joyful, or optimistic. Just like a real conversation, my art evolves organically, twisting and turning to arrive at unexpected destinations. This dynamic interaction is a big part of the joy painting gives me.

After prepping the substrate with gesso for canvas or GAC and gesso for plywood, I lay down a background color. A sweep of color or gestural brushstroke follows, initiating the creative process. My work focuses on gesture and color, with energetic brushstrokes and bold palettes. I don't
plan the final look; inspiration comes from the act of painting. My palette choices are intuitive, often featuring orange and Phthalo blue. I challenge myself to use red more often due to its evocative nature.

Yes, I generally work on multiple pieces at once as I find that each canvas informs the direction of the others. I also step away from the painting at various intervals and sit with it to review it with fresh eyes. This technique helps avoid overworking a piece and ensures I stop in time.

There is no hard and fast rule when it comes to creating a piece. Often a small-scale artwork will take as long as a large statement piece. Ignoring canvas preparation, varnishing, backing etc., I can finish a painting in a couple of days, but others can take up to a month on and off. For commissioned artwork I generally allow 3 weeks to a month to create the work.

I aim to get an artwork 95% finished, then I put the painting on my wall and ‘live’ with it for a few days. This helps me decide if it needs more work or is complete. I ask myself if the painting is well balanced, conveys the feeling I was aiming for, is skillfully painted, and has
an element of tension or surprise. It is very unusual for me not to finish a work without a final dripped dot of color—it’s a bit like a signature.

I have an airy, purpose-built studio overlooking native bush in Maraetai, a beach suburb on the outskirts of Auckland, New Zealand.
Rather than using an easel, I prefer to paint flat on a table or the floor, allowing me to walk around the canvas. I've never gotten the hang of using an easel or a wall, a habit stemming from painting in small apartments where space was limited.

I spend a lot of time plotting new ideas, but sometimes I'm just not in the mood. The best way to overcome a block is to simply start painting. Once I begin, ideas reveal themselves through the process. Doodling is also helpful. However, if creativity isn't flowing, there's always admin work—suddenly, painting seems much more appealing!

At university, I studied playwriting with New Zealand dramatist Sir Roger Hall, as well as drama. I view my paintings the same way I view set design: my paintings set the stage for an adventure or story to unfold, often involving animal shenanigans or mischief in general. Ultimately, my artwork titles reflect the playful and adventurous spirit I aim to infuse into my pieces.

My artistic career at school was short lived as I was and am disinterested in realistic drawing. For me art has always been about emotion, the telling of stories and the portrayal and energy of an atmosphere, real or imagined.

Heading off to university, I was intent on pursuing a career involving some form of writing but ended up re-training as a designer. I had a grand time working on events around Europe. During this time, I used painting as a creative release, simply enjoying the process without the constraints of a brief. Over time I increasingly focussed on painting and becoming a full-time artist.

My aim as an artist is to engage the viewer and create a sense of escapade, as if romping across the canvas. I achieve this using a mix of intuition, spontaneity, and considered mark-making. Painting, for me, is a medium that allows the imagination to run free. Storytelling through art creates a common bond and can be cathartic, joyful, and entertaining. My goal is to invite viewers into a narrative landscape where they can explore, connect, and find their own stories within the artwork.

I’m often asked why I paint abstract or non-representative works rather than realistic pieces. I've always been drawn to abstract art, preferring to use color, rhythm, form, shapes, and texture to convey emotion and create a sense of place. For me, abstract art piques the imagination and encourages conversation, making the intangible tangible.

While I appreciate a range of artistic genres, I'm not tempted to paint them.

Growing up, my family travelled extensively, living in nine different countries. Often left to my own devices, I retreated into a world of imagination, always feeling the urge to create. I preferred paint and felt tips over coloring books or pencils, spending hours drawing and painting, inspired by the sights, sounds, and smells around me. Painting became an important form of expression.

In school, I was disinterested in realistic drawing, focusing instead on emotion, storytelling, and atmosphere. At university, I initially pursued writing but retrained as a designer, working on events across Europe and using painting as a creative release. Eventually, I became a full-time artist.

My work today is heavily influenced by my formative years. Memories of Chinese shadow puppets in Singapore, water festivals, mountain trips, and the contrasting sounds of cities like Paris and Bangkok all inform my art. Adventures with my geologist grandfather and his stories, combined with my vivid imagination and curiosity, are woven into my paintings.

Storytelling is a family tradition, and I see painting as an extension of storytelling, creating a common bond and offering cathartic, joyful, and entertaining experiences. I was particularly inspired by the painted houses of the Ndebele in Transvaal, Southern Africa, with their geometric patterns and bold colors. This tradition, passed down through generations, showed me that abstract art can be more than decoration—it can be a powerful form of communication.

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Having studied art history in school, I went on to study French and Russian art history at university. I was particularly taken with the European abstract expressionists like Miró and Kandinsky (my childhood favorite), as well as the Suprematism of Malevich and the Bauhaus Movement. These influences cemented my love of abstract art.

I'm drawn to artists whose paintings demand a response. Rothko is a prime example; his seemingly simple work is powerful and evocative, revealing insights about both the artist and the viewer. I believe this emotional impact is central to a painting's success.

My studies at Otago University deepened my appreciation for early 20th century art movements, particularly those led by European and Russian artists. This academic background influences my work, as I draw upon the innovations of Fauvism, Cubism, and Abstract Expressionism, integrating these historical styles with my contemporary vision. I enjoy the strong colors and painterly qualities favoured by the Fauvists, such as Henri Matisse and André Derain. Fauvism, with its bold, vibrant colours and simplified forms, emphasizes emotional depth over realistic representation.

In summary, my art is a vibrant fusion of early 20th-century abstract movements, enriched by my academic insights and deep admiration for artists like Kandinsky, Malevich, Miró, Picasso, and Delaney. My work reflects a engagement with the principles of abstraction, color theory, and emotional expression, resulting in dynamic compositions that celebrate the legacy of these pioneering artists while forging my own artistic path.

In addition, my experience as a graphic designer enhances an understanding of composition, balance, and visual hierarchy, as well as color theory, how colors interact, convey emotion, and influence viewers’ perceptions.

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My work is mainly inspired by influential modern and contemporary art movements of the 20th century including:

Abstract Expressionism: Embracing the freedom and emotional intensity of this movement, I focus on bold strokes and vibrant colors to convey powerful emotions.

Minimalism: By incorporating clean lines and simple forms, I strive to create a sense of calm and clarity in my compositions.

Fauvism: Inspired by the bold, vibrant colors and expressive brushwork of Fauvist artists, I use color to evoke emotion and energy.

Cubism: Drawing from Cubism's fragmented forms and multiple perspectives, I experiment with breaking down subjects into geometric shapes.

Suprematism: Influenced by the simplicity and geometric purity of Suprematism, I explore the use of basic shapes and stark contrasts to convey abstract ideas.

Bauhaus: The Bauhaus movement's emphasis on functionality and design harmony influences my approach to integrating form and function in my artwork.

These influences cemented my love of abstract art.